Ignacio Wer is Crafting Music for a New Jewish Era After October 7th
Havurah Music intern Carolyn Bernstein on Ignacio Wer’s latest work, and his contribution to Havurah's debut album, Common Blue.
“When it comes to music, I’m doing pretty well,” Ignacio says. It’s a humble statement, especially in a time when many Jews like Ignacio are navigating a sense of profound personal and communal grief.
Ignacio recently finished an ambient EP composed of three tracks. Living in Friedrichshain, East Berlin, since 2019, Ignacio's career has been shaped by the city’s strong electronic music scene, yet his roots remain deeply grounded in folk music. As he explains, “My guitar was, is, and has always been, my main instrument and my musical universe.”
Ignacio Wer, shot by George Nebieridze
Ignacio’s musical journey began in Buenos Aires when he was young. After a childhood immersed in folk and influenced by a love for Bob Dylan, Ignacio’s move to Berlin and exposure to the city's thriving electronic music culture expanded his sound. “I had this fantasy of someday coming to live here. All the history behind it—it felt like a place where cultures were flourishing,” he shares. That fantasy became a reality when he moved to Berlin in 2015, transforming his approach to music along the way.
Ignacio's latest work clearly reflects his transition from folk to electronic, and more recently, to ambient music. His first ambient production, Much A Time In Ache, was released this year. The album was partly influenced by the events of October 7 and the complex feelings Ignacio and many Jews in the diaspora felt and have been continuing to feel these past 11 months. He reflects,
“I don’t know, maybe it was the perfect time for me to finally bridge these two genres that are so important to me—folk and ambient—and try something experimental.”
Ignacio’s desire to create something new culminated in the first track, “Yonder Fades The Silence” which he says “came together organically. The first two songs were designed using only samples from my guitar,” he explains, making it clear that his folk roots remain central to his creative process, even in ambient music. In the seven minute track, Ignacio utilizes minimalist tones that contribute to an impactful larger sound. Synths humm and a baritone buzz underlines what sounds at first like a simple harmony. The piece gradually builds in intensity, culminating in a series of distinct knocking sounds that leave a lasting impression
The seamless transition between ambient soundscapes and folk-inspired vocals mirrors a deeper, more personal fusion for Ignacio. His music captures the complexity of his emotions—pain from the ongoing struggles in the world and a profound connection to his heritage. The result is a soundscape that speaks to the resilience and beauty found in navigating both togetherness and transformation.
The album holds deep personal significance for Ignacio. “I’m not a theoretical musician, but this album—it means a lot to me,” It resonates deeply with his Jewish identity, which has become more pronounced since October 7th.
With cousins residing in Israel, the ongoing conflict has left Ignacio confronting intense feelings of frustration and grief. “I found it difficult that people didn’t grasp how deeply it affected me,” he reveals. “At times, the lack of empathy from others was painful.”
October 7 impacted his collaborations within Berlin’s music scene. Ignacio reveals that while he hasn’t engaged in many collaborations since the tragedy, he recalls inviting a saxophone player, a frequent collaborator, to join him on a track about October 7. “He’s Jewish, Israeli, and his family is in the army. It was very difficult for him, but he was deeply moved and agreed to play.”
Ignacio acknowledges that in Berlin, the Jewish community can feel lonely. He describes it as more subdued than in his native Argentina, where Jewish traditions are more prominent and communal. “Here in Berlin, the Jewish community lives more in the shadows, which I think has a lot to do with history. Back home, you’d have dinners for every Jewish holiday—Pesach, Rosh Hashanah, Purim. It’s much more lively there,” Ignacio explains. The contrast is stark, particularly after October 7, when he first felt uneasy about being openly Jewish in Berlin. “It was a new experience for me,” he admits. “I hadn’t felt that way before.”
Ignacio feels like his music could be what connects him to his Jewish upbringing. He continues to explore his Jewish identity through music.
His unique rendition of “Avinu Malkeinu” for Havurah’s new album, Common Blue, not only serves as a cornerstone for the album but also leads the collection.
The song now opens the album, and Ignacio’s contribution feels like a natural continuation of the themes he’s explored in his previous work: loss, identity, and belonging. The piece has an inherently ambient feel. Layers of electronic sound create the backdrop for a traditional melody drawn from the ancient text that Ignacio learned as a child. This time, the interplay between the modern soundscapes and the timeless tune creates a striking contrast that breathes new life into the ancient words.
Ignacio Wer by George Nebieridze
Looking ahead, Ignacio is planning his next project—a record composed entirely of improvised jams, inspired by the likes of Brian Eno. He adores that endless feeling in music. “Brian Eno has songs that are 30 minutes, 50 minutes, an hour long, and you get completely lost. That’s what I want to create,” he says. “I want to lose myself in the music.”
But for now, Ignacio is content floating between worlds—folk and electronic, Buenos Aires and Berlin, Jewish traditions and ambient experimentation. Whether it’s his guitar or an atmospheric synth, Ignacio’s music tells the story of being rooted in many worlds, and belonging to none fully.
